Spherical Music was written in 1985 as part of an electronic piece called The Garden of Cyrus. (A recording of that piece is available on my CD Overstepping.) At the time, I made a version for twelve marimbas which Daniel Druckman recorded and performed with eleven parts on tape. In 1998, Danny called and asked me to make a version for twelve players on six marimbas. I made substantial revisions in the orchestration for this version, and I think it’s beginning to approach what I was hoping for it to be in the first place: an algorithmic music where the rule-based events feel like more than mere arithmetic, where they become a kind of magic numerology.
There’s a quotation from the Divine Comedy that embodies what I was aiming for when I wrote the piece:
E come l’alma dentro a vostra polve
per differenti membra e conformate
a diverse potenze si resolve,
così l’intelligenza sua bontate
mulitiplicata per le stelle spiega,
girando sè sovra sua unitate.
Dante, Paradiso II: 133-138
And as the soul within your mortal clay
is spread through different organs, each of which
is shaped to its own end; in the same way
the high angelic Intelligence spreads its goodness
diversified through all the many stars
while yet revolving ever in its Oneness.
John Ciardi’s translation
In addition to the original electronic version available on Overstepping, Jane Boxall’s solo marimba version of the piece is available here. Al Cerulo’s brand new multiple instrument arrangement and recording is posted as part of my ongoing project A Book of Days. You can listen to it by visiting March 3rd.
Here’s the score of the 1998 twelve players on six marimbas version. When you purchase the materials through Paypal below, you will receive all the materials necessary to perform the piece.
If you want to do a solo version, you will first want to record all twelve parts and then mute the parts you want to play live. Here’s one possible solo version of the piece. However, once you’ve spent the time recording all twelve parts yourself, you are likely to have your own favorite path through the piece, so I encourage you to make your own solo performance version. If you want the score in Finale, XML, or MIDI format to make editing your own version easier, please request it when you order the materials.
And you are warmly invited to support this very low-key way of publishing:
The inspiration for Michael’s Spoon was this text from the end of J.M. Coetzee’s 1983 novel The Life and Times of Michael K.
And if the old man climbed out of the cart and stretched himself (things were gathering pace now) and looked at where the pump had been that the soldiers had blown up so that nothing should be left standing, and complained, saying, ‘What are we going to do about water?,’ he, Michael K, would produce a teaspoon from his pocket, a teaspoon and a long roll of string. He would clear the rubble from the mouth of the the shaft, he would bend the handle of the teaspoon in a loop and tie the string to it, he would lower it down the shaft deep into the earth, and when he brought it up there would be water in the bowl of the spoon; and in that way, he would say, one can live. J. M. Coetzee: Life and Times of Michael K
Michael’s Spoon was originally written as an all-electronic piece which is the second movement of the five-movement piece The Garden of Cyrus. That piece was released on my 1998 CD, Overstepping.
Michael’s Spoon is part of my ongoing project, A Book of Days. You can listen to the electronic version and watch Mechele Manno’s video by visiting February 9th.
The chamber ensemble version of Michael’s Spoon was originally made in 2004 for performances by the Robin Cox Ensemble. You can download a score of that version here. You are welcome to substitute instruments as desired for your ensemble. Alternatively, the piece can be performed by a solo player on the cello part (or shared by low brass), with all the other parts pre-recorded. Here’s a performing score of the two-trombone version. When you order the performance materials by clicking the button below, let me know what instrumental alterations you need. Thanks for your interest in Michael’s Spoon!
13one was written for the trombonist Will Lang. He asked for a thirteen-note piece that could be played solo or in conjunction with other thirteen-note pieces. I decided to make my piece an homage to John Cage on his 100th birthday.
You are welcome to play the version I cast for Will for the premiere, which is in the downloadable score you will find below. Each of the thirteen notes should be played for the duration of one breath at a generally quiet dynamic. The thirteen notes do not need to be played evenly: let your breath determine the duration of each note. Also, if a particular hexagram speaks to your condition, feel free to milk it.
IF YOU WOULD LIKE TO MAKE YOUR OWN VERSION OF 13one:
Cast the I Ching using whatever method you prefer. (There is of course an app for this.) Use the chart you will find in the score to translate each resulting hexagram into a note. If the hexagram you cast has changing lines, the next note should be the one associated with the hexagram that results when you change the lines. If your cast for the thirteenth note gives you a hexagram with changing lines, you can
sing the note of the original hexagram while playing the note of the changed version (or vice versa)
vividly imagine the changed version’s note after you finish playing the thirteen written notes
sing the note to yourself at some later time
use it as the first note of your next performance of the piece
invent your own use for the extra note
If you wish, you can play the piece into a very long delay a la Brian Eno. Set the delay to be longer than the duration of any individual note you are likely to play. Depending on the regen you set, the delay can end up keeping all thirteen notes in play, with a fadeout to nothingness as the delays gradually dissipate. A standard delay pedal is not likely to be long enough for this purpose: you will probably need a computer. I have made a Max for Live patch that implements a long delay (up to 13 seconds), which I am happy to send you when you order the performance materials.
Fireside was commissioned in 2001 by pianist Sarah Cahill in celebration of Ruth Crawford Seeger’s centennial. The piece sets a poem Ruth Crawford wrote when she was thirteen years old. The harmony is a response to her fifth prelude. Fireside is dedicated to women composers of the future, who will undoubtedly be making devil’s bargains of their own.
Here is the text of Ruth Crawford’s poem.
When I sit by the side of the blazing fire
On a cold December night,
And gaze at the leaping and rollicking flames
As they cast their flickering light
I see what I would be in future years,
If my wishes and hopes came true,
And the flames form pictures of things that I dream,
Of the deeds that I hope to do.
One tall yellow flame darts above all the rest,
And I see myself famed and renowned,
A poetess I, and a novelist too,
Who is honored the whole world around.
That flame then grows dim, which to me seems to say,
That my first hope must soon die away,
Then another one darts on a great opera stage,
The most exquisite music I play.
And then, after many flames rise, and die down,
The first burns even and slow,
And I see myself singing to children my own,
On the porch of a small bungalow.
Oh, I dream, and I dream, until slowly the fire
Burns lower, grows smaller, less bright,
Till the last tiny spark has completely gone out,
And my dreams are wrapt up in the night.
Ruth Crawford, age 13
All Ways was commissioned by Frederick and Alexandra Peters for a project called Songbook for a New Century, an evening of songs about the millennium. I chose this text from Stephen King’s novel It, because I felt I didn’t know anything about the new century.
The piece was originally written for voice and piano. The piano/vocal score is here. And here is a draft copy of a score which lays out all the conceptual parts. I can orchestrate it to your specifications, just let me know what you’d like.
And you are warmly invited to support this very low-key way of publishing:
Five Things was written on 23 October 2001. It was the first piece I wrote after the events of early September of that year. The text is Thomas Cleary’s translation of a Song Dynasty (10th to 13th century) letter to a Zen Master Xiang:
• What has been long neglected cannot be restored immediately.
• Ills that have been accumulating for a long time cannot be cleared away immediately.
• One cannot enjoy oneself forever.
• Human emotions cannot be just.
• Calamity cannot be avoided by trying to run away from it.
Anyone who has realized these five things can be in the world without misery.
Five Things is November 14th in my ongoing project A Book of Days. Please go there to hear a new recording by Margaret Lancaster and Erin Rogers on flute and bari sax, respectively, and with me doing the text.
Judson Wright has made an animation that can be projected in performances of the piece. Contact me for more details.
Here is a score of the piece in pdf format. I can supply you with different transpositions and clefs, as needed.
If you are going to perform the piece in public, I would really appreciate you supporting this low-key way of publishing by purchasing the performance materials, by clicking on the paypal button below:
ATQUE SEMPER (2006) for flute, horn, electric guitar, bass, and piano
Atque Semper is a meditation on the early medieval hymn Ave Maris Stella. The guitarist plays a free version of the melody while the other instruments try very hard to mess it up. The pianist is torn between supporting the guitar and hanging out with the troublemakers.
Atque Semper was commissioned by the young guitarist Dylan Allegretti for Santa Fe New Music and is dedicated to him with many thanks.
Here is the score of the original arrangement. I am open to people making arrangements of the piece for different instrumentation, so if you have ideas about this, please feel free to get in touch with me at eve at evbvd dot com.
For a set of parts, please click the donation link below, with my thanks for your support of this very low-key way of publishing:
It Happens Like This sets the recitation of a poem by James Tate against an adaptation of a traditional Persian chaharmezrab melody and dance rhythm. Perhaps the cyclical embroiderings of the chaharmezrab echo the successive embroiderings of the narrator’s tale of the goat.
It Happens Like This was commissioned by Mary Sharp Cronson and Works and Process, Inc. for a celebration of James Tate at the Guggenheim Museum. Many thanks to Greg Hesselink for help and advice with the cello notation, and Mary Rowell for ideas and advice for the two-instrument version.
It Happens Like This was written while in residence at the Civitella Ranieri and is dedicated with affection to Diego Mencaroni, who once loved a goat.
I was outside St. Cecelia’s Rectory
smoking a cigarette when a goat appeared beside me.
It was mostly black and white, with a little reddish
brown here and there. When I started to walk away,
it followed. I was amused and delighted, but wondered
what the laws were on this kind of thing. There’s
a leash law for dogs, but what about goats? People
smiled at me and admired the goat. “It’s not my goat,”
I explained. “It’s the town’s goat. I’m just taking
my turn caring for it.” “I didn’t know we had a goat,”
one of them said. “I wonder when my turn is.” “Soon,”
I said. “Be patient. Your time is coming.” The goat
stayed by my side. It stopped when I stopped. It looked
up at me and I stared into its eyes. I felt he knew
everything essential about me. We walked on. A police-
man on his beat looked us over. “That’s a mighty
fine goat you got there,” he said, stopping to admire.
“It’s the town’s goat,” I said. “His family goes back
three-hundred years with us,” I said, “from the beginning.”
The officer leaned forward to touch him, then stopped
and looked up at me. “Mind if I pat him?” he asked.
“Touching this goat will change your life,” I said.
“It’s your decision.” He thought real hard for a minute,
and then stood up and said, “What’s his name?” “He’s
called the Prince of Peace,” I said. “God! This town
is like a fairy tale. Everywhere you turn there’s mystery
and wonder. And I’m just a child playing cops and robbers
forever. Please forgive me if I cry.” “We forgive you,
Officer,” I said. “And we understand why you, more than
anybody, should never touch the Prince.” The goat and
I walked on. It was getting dark and we were beginning
to wonder where we would spend the night. james tate
Here is the traditional chaharmezrab on which the piece is based:
It Happens Like This is part of my ongoing project, A Book of Days. To hear a live recording of the duo version by BRIM, please visit July 6th.
The instrumental part has been done on cello, on mandolin, and on guitar. Hereis a score of the original cello plus actor version. And the piece has also been done as a violin/viola duo, and as a mandolin/guitar duo. Here is the violin/viola version of It Happens Like This. For a set of parts, please order by clicking the donation link below (and let me know if you need different transposition or clefs.)
Night Psalm was inspired by Psalm 77, particularly verse 20:
Your way was through the sea,
your path, through the mighty waters;
yet your footprints were unseen.
The melody of the piece is based on a chant found in a late sixteenth century antiphoner from Augsberg Cathedral in Germany. It is not known why this book would have been made so late, given the liturgical politics involved.
Night Psalm is dedicated to Paul Kahn on the occasion of his becoming a deacon. The piece is part of my ongoing project, A Book of Days. You can hear Vicky Chow’s live recording (accompanied by a video I made off the back of a towboat on the Mississippi) by visiting March 10. And you can see an excerpt of me performing the piece on a Launchpad here.
Here is a score of the piece. If you are paid to perform it in public, I would deeply appreciate you paying for the score:
I am really a very simple person is the first piece I wrote after completing a journey by kayak and bicycle down the Mississippi River. It was inspired by something the visual artist H. C. Porter said to me soon after we met, in Vicksburg in November 2009. This choral version uses solfège syllables as the lyrics for the piece, which perhaps will evoke thoughts of the old shape note singing traditions.
I am really a very simple person is January 6th in A Book of Days. If you go to the day, you can hear a recording where I am singing all the parts.
I am open to performances of the piece by any group of instrumentalists and/or singers. I can supply you with various different arrangements I have made, or with the Finale file so you can make your own arrangement. Please let me know when you perform the piece. And you are warmly invited to support this very low-key way of publishing:
I wrote Did he promise you tomorrow? on 7 February 2011 as a memorial to Steven Dennis Bodner (1975-2011.) The title is something a woman named Carla asked me in a bar in Los Gatos, California precisely one year earlier, on 7 February 2010, while Chris Porter and I were watching the New Orleans Saints beat the Minnesota Vikings in the Super Bowl. I had never watched a Super Bowl before, but the fact of two river cities being in contention made it sort of a required event that year. I don’t know what Steve’s attachment to the Super Bowl may or may not have been, but I do know that he loved Louis Andriessen’s music passionately, so I have re-purposed a lick from De Volharding as the basis of the piece.
The piece can be performed by virtually any group of at least six instruments and/or singers. You can arrange your own score from the six conceptual lines. The vocal score is the simplest arrangement. You can look at the Newspeak arrangement to see one approach to arranging the piece for larger forces.
Did he promise you tomorrow? is part of my ongoing multimedia project A Book of Days. Please visit February 7th to hear a multi-instrumental and vocal version.
You are warmly invited to support this low-key way of publishing. Once you make your purchase, we will send you a Finale file so you can make your very own arrangement of Did he promise you tomorrow?
Brownie Feet is a messed up mashup with several sources: Feet Can’t Fail Me Now, a NOLA standard by the Dirty Dozen Brass Band, and the first movement of the Bach G minor Violin Sonataare the two necessary ones. If you like, you can perform the piece alongside my recording of a progressively more and more messed up James Brown Funky Drummer sample and George W. Bush’s 2 September 2005 press conference, but I’d prefer for you to work with a live drummer and/or sampler/laptop/turntable player so you can mess things up your own way.
The original version of this piece is called Cattle Feet, and it combines Feet Can’t Fail Me Now with a Phil Collins lick, and is performed on multiple trombones as a half-time number for David Neumann’s dance piece, Feed Forward. Bach and George Bush got enveloped into it for Peggy Gould’s From Within and Outside a Bright Room Called Day, where we did it as a vocal piece with live drums. And now here’s the score arranged for string quartet. You can welcome to perform The Flood as a companion piece to Brownie Feet or not, as you desire.
Brownie Feet is part of my ongoing project, A Book of Days. You can watch Tom Emerson’s video for the piece along with a performance of the vocal quartet version by visiting September 3.
What Justice Looks Like was written for Payton MacDonald to perform at South Pass City as part of his Sonic Divide project. Esther Hobart Morris (1814-1902) served as Justice of the Peace there in 1870, during the Gold Rush, right after women were given the vote in Wyoming Territory. After her term was over, she had her husband arrested for assault and battery. She eventually left both him and South Pass City, becoming an activist for women’s rights nationally.
What Justice Looks Like is part of my ongoing project, A Book of Days. You can listen to my recording by visiting Valentine’s Day, which is the day when Esther was sworn in as Justice of the Peace.
Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you click the donation button below.
I think you want to think of this piece as an intimate invocation to Esther. You’ll want to find the transposition that lets both the lowest and the highest notes of the (rangy) vocal line be vulnerable and loving. You are welcome to do the piece slower (or faster) than the marked tempo if you like, and you don’t need to stick too precisely to the notated rhythms as long as the phrases stay coherent.
You can do it as a solo vocal piece, or you can invent a rhythmic accompaniment that helps you express the piece, adding extra bars of rest between verses for improvisational flourishes as you prefer. If you like a drone, feel free to use one. For the demo, I used Henry Lowengard’s excellent iPhone app, Srutibox, in just intonation mode. And I added a couple of totally optional samples from “Suffragette City”, which I’ll send you if you want them.
And thank you for supporting this low-key way of publishing:
Oh, I’m sad for never knowing courage,
And I’m sad for the stilling of fear.
Close to the sun now and farther from the heart.
I think that my end must be near.
I linger too long at a picnic
’cause a picnic’s gayer than me.
And I hold to the edge of the table
’cause the table’s stronger than me.
And I lean on anyone’s shoulder
Because anyone’s warmer than me. Jane Bowles
I have been mulling over this 1942 poem by Jane Bowles since I first encountered it in 2000. I think the poem is unbearably sad: the embodiment of a specific kind of mid-20th-century female unhappiness. I do not live this life, but I am very conscious of having escaped it.
The song showed up unannounced one day while I was in residence at Ucross in the spring of 2016.
Farther from the Heart is part of my ongoing project, A Book of Days. You can listen to my recording by visiting 3 November.
Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you order the materials below.
And thank you for supporting this low-key way of publishing.